The Bride Wore Red (1937)

100 or 103 mins | Comedy-drama | 8 October 1937

Director:

Dorothy Arzner

Cinematographer:

George Folsey

Editor:

Adrienne Fazan

Production Designer:

Cedric Gibbons

Production Company:

Metro-Goldwyn-Mayer Corp.
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HISTORY

A pre-production title for the film was Once There Was a Lady . A production chart in HR and a news item in MPH list Billy Burrud, a child actor, in the cast, but he was not seen in the viewing print and his appearance in the film has not been confirmed. He may have been replaced by Dickie Moore, who played Pietro in the film, or, his name may have been printed mistakenly in both sources instead of actress Billie Burke, who was in the film, but was not listed in either the HR chart or the MPH news item. According to other news items in HR , this was Dorothy Arzner's first directorial effort for M-G-M, but Arzner was earlier assigned to help complete the studio's 1937 film The Last of Mrs. Cheyney after the sudden death of director Richard Boleslavky. Arzner completed no additional films for M-G-M. The picture was filmed partially on location in the Mammoth Lakes area of the Sierra Mountains, CA, and background footage obtained by Fred Wilcox on an Austrian trip were included in this film and in Paradise for Three (see below). This was the last film in which Franchot Tone and Joan Crawford, who were married from 1935 to 1939, appeared ... More Less

A pre-production title for the film was Once There Was a Lady . A production chart in HR and a news item in MPH list Billy Burrud, a child actor, in the cast, but he was not seen in the viewing print and his appearance in the film has not been confirmed. He may have been replaced by Dickie Moore, who played Pietro in the film, or, his name may have been printed mistakenly in both sources instead of actress Billie Burke, who was in the film, but was not listed in either the HR chart or the MPH news item. According to other news items in HR , this was Dorothy Arzner's first directorial effort for M-G-M, but Arzner was earlier assigned to help complete the studio's 1937 film The Last of Mrs. Cheyney after the sudden death of director Richard Boleslavky. Arzner completed no additional films for M-G-M. The picture was filmed partially on location in the Mammoth Lakes area of the Sierra Mountains, CA, and background footage obtained by Fred Wilcox on an Austrian trip were included in this film and in Paradise for Three (see below). This was the last film in which Franchot Tone and Joan Crawford, who were married from 1935 to 1939, appeared together. More Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
23 Sep 37
p. 3.
Film Daily
12 Oct 37
p. 6.
Hollywood Reporter
17 Mar 37
p. 13.
Hollywood Reporter
26 Apr 37
p. 2.
Hollywood Reporter
6 Jun 37
p. 6.
Hollywood Reporter
7 Jun 37
p. 2, 6
Hollywood Reporter
23 Sep 37
p. 3.
Motion Picture Daily
24 Sep 37
p. 22.
Motion Picture Herald
11 Sep 37
p. 35.
Motion Picture Herald
2 Oct 37
p. 36.
New York Times
15 Oct 37
p. 18.
Variety
29 Sep 37
p. 14.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCER
WRITERS
PHOTOGRAPHY
Photog
ART DIRECTORS
Art dir
Art dir assoc
Art dir assoc
FILM EDITOR
Film ed
COSTUMES
Gowns
MUSIC
Mus score
SOUND
Rec dir
DANCE
Dances staged by
SOURCES
LITERARY
Based on the unpublished play The Girl From Trieste by Ferenc Molnár.
SONGS
"Who Wants Love," music by Franz Waxman, lyrics by Gus Kahn.
DETAILS
Alternate Title:
Once There Was a Lady
Release Date:
8 October 1937
Production Date:
5 Jun--10 Aug 1937
Copyright Claimant:
Metro-Goldwyn-Mayer Corp.
Copyright Date:
4 October 1937
Copyright Number:
LP7643
Physical Properties:
Sound
Western Electric Sound System
Black and White
Duration(in mins):
100 or 103
Length(in reels):
11
Country:
United States
PCA No:
3582
Passed by NBR:
Yes
SYNOPSIS

In a Trieste gambling casino, the cynical Count Armalia tells his friend Rudi Pal that the only thing separating aristocrats from peasants is luck. Later, in a waterfront cafe, he decides to prove his point by offering the club's singer, Anni Pavlovitch, money and a wardrobe to stay at an upper class resort hotel in the Alps for two weeks and pose as his friend Anne Vivaldi, an aristocrat's daughter. When Anni first arrives, she meets Giulio, a philosophical postal clerk who has no desire for wealth. She also meets her old friend Maria, who is happy being a maid in the hotel and warns Anni not to become the victim of Armalia's joke on his friends. That evening, Anni attracts the attention of Rudi, who is dining with his fiancée, Maddalena Monti, her father, Admiral Monti, and Contessa di Meina. Rudi begins to falls in love with Anni, but she is more attracted to Giulio, even though she accuses him of impertinence when he tells her his feelings. Hoping to lure Rudi into proposing to her, Anni extends her stay beyond the two weeks while the Contessa, who has been suspicious of her from the beginning, wires Armalia for information on her. When the reply comes through the post office, Giulio reads it and learns the truth, but on the way to deliver it, he meets Anni, who goes to his cottage and realizes that she loves him, even though she still thinks that marriage to Rudi will bring her greater security. Later, she falls and Giulio loses the telegram going to help her. On the evening of an annual ... +


In a Trieste gambling casino, the cynical Count Armalia tells his friend Rudi Pal that the only thing separating aristocrats from peasants is luck. Later, in a waterfront cafe, he decides to prove his point by offering the club's singer, Anni Pavlovitch, money and a wardrobe to stay at an upper class resort hotel in the Alps for two weeks and pose as his friend Anne Vivaldi, an aristocrat's daughter. When Anni first arrives, she meets Giulio, a philosophical postal clerk who has no desire for wealth. She also meets her old friend Maria, who is happy being a maid in the hotel and warns Anni not to become the victim of Armalia's joke on his friends. That evening, Anni attracts the attention of Rudi, who is dining with his fiancée, Maddalena Monti, her father, Admiral Monti, and Contessa di Meina. Rudi begins to falls in love with Anni, but she is more attracted to Giulio, even though she accuses him of impertinence when he tells her his feelings. Hoping to lure Rudi into proposing to her, Anni extends her stay beyond the two weeks while the Contessa, who has been suspicious of her from the beginning, wires Armalia for information on her. When the reply comes through the post office, Giulio reads it and learns the truth, but on the way to deliver it, he meets Anni, who goes to his cottage and realizes that she loves him, even though she still thinks that marriage to Rudi will bring her greater security. Later, she falls and Giulio loses the telegram going to help her. On the evening of an annual costume party at which the hotel guests dress as peasants, Anni snubs Giulio when he offers her flowers, but later confesses her love. She still plans to marry Rudi, though, whom she has finally gotten to propose, after refusing to be his mistress. The next day, Rudi tells Maddalena that he is in love with Anni and she steps aside, then suggests that they dine together that evening. While Maria helps Anni pack, she tells her that she no longer has a heart and that the gaudy red beaded dress she plans to wear is what she is really like. During dinner, Giulio delivers a copy of the telegram to the Contessa, who shows it to Rudi and the others. Maddalena is genuinely sympathetic, and Anni tells Rudi that he should marry his childhood sweetheart because she really is a lady. Finally, after being comforted by Maria, Anni realizes that Rudi did the right thing and she leaves the hotel after the manager demands payment of her bill. When she leaves, taking only her peasant costume from the ball, Giulio is happily waiting for her. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.